All those listeners who appreciated last year album "Nebula Dance" by phenomenal beat juggler Alan Myson aka Ital Tek will easily notice that in spite of the sonic filiation of this amazing tidbit with the above-mentioned album, it's really hasty to nonchalantly consider "Control" just as a kind of doppelganger or a recapitulartory revision of the above-mentioned album as Ital Tek more distinctly channeled active ingredients of his distinctive upgrade of Chicago-rooted juke sonorities on this new miscellanous stylish soup: for example, the whirling synth-driven arpeggio on "Challenger Deep", which opens B-side, could remind the one of "Pixel Haze", but Alan seems to highlight this element by reducing the percussive ones to a desiccated, toneless and almost lo-fi hit and chained snips and the melodic emblazonment to occasional inserts of bi-tonal chords, the short ambient-lke track "Doom/Dream" or the reverie of the interlude "Zero" could remind "Discontinuum" from "Nebula Dance", but without any trace of the micro-taps, which sound echoed on "Violet", another peak of this release where someone could have the impression of listening a possible remix of Art Of Noise's "Moments In Love " by Burial, or on the title-track itself, which unexpectedly evolves into something hanging between juke bumps and airy dubstep. "Control" cannot be considered a sterile proof of concept, but a set of eight further bodies of evidence which testifies Ital Tek's sonic fluency by coming to a point where he manages to infer new hands by shuffling the same cards and switching stylistical stitches.

'Durchleuchtung' is the newest album by Das Muster which has been released recently by Solar One Music. Available in a limited run of 99 copies, the album has three different layouts available, all three comes in a metal box. This is the first proper physical release for the Marcus Mumm project and it contains twelve new instrumental tracks which will convince you in no time if you are lovers of bands of the likes of all the Gerald Donald's projects. Marcus created kinda short cold robotic soundtracks where analog synth sounds paint different kind of imaginary scenarios. Mine are: the psychological ones of 'Testobjekt' ('Test Object'), 'Verhaltensmuster' ('Patterns Of Behavior'), 'Observation' and 'Irritation', the social ones of 'Drahtzieher' ('Masterminds'), 'Das Hochste Gut' ('The Supreme Good') and 'Resistenz' ('Resistance') and the lab experiments ones of 'Schnittstelle' ('Interface') and 'Auswirkungen' ('Effects'). Musically, we have the top notch eletro techno with paced rhythms, warm pads, bleeping sounds, dissonances and distortions. You can check the sound excerpts here www.soundcloud.com/solar_one_music/das-muster-durchleuchtung

Rome-based producer Valentina Fanigliulo, better known as Mushy, already had been introduced and praised on this space when she signed a collaborative release with Peter M. dedicated to the first movie by Alejandro Jodorowsky as well as her debut release "Faded Heart" in the guise of Mushy, which got described as the most convincing answer by American artists such as Zola Jesus and Tamaryn. Supposedly anticipated by same-named track on the single "My Love So Far", Phantom Love is Valentina's most recent moniker for an instrumental project, where despite she let her voice stand, she keeps on lingering on influences from dark music classics and horror movie soundtracks (particularly John Carpenter's ones), which have been melted with skeletal 4/4 pulsations and witch-house nuances. The initial "Crave For Lust" sounds like the perfect sonic glazing agent for the rendering of a cliff-hanger-like feeling by means of dry claps, scratched chords, crystalline dripping and an otherwordly electronic horn, whereas the stridency between seemingly opposite elements got highlighted on the following "Power And Passion", where a sort of spectral rattling fluctuates within distant creaking noises, translucent sonic bends and a muffled movement, whose intrinsic magnetic effulgence more clearly erupts on "Dead Illusion", the last track of this mouthwatering EP.

If you enjoyed the first part of "Fragmented Self" by Max Cooper and Tom Hodge I spoke about some days ago, I'm pretty sure this second part will be the proper cherry on top of a pear-brandy soaked cake for many listeners whose ardrums and minds have been titillated by its pedecessor. There's only a new track by this guessed musical twosome, "Amorphous Romance", whose remarkable crescendo departs from a delicate raw solo piano by Hodge whose both rhythmical and "dramatic" accelerations got gradually ramped up by well-broken electronic particles, aerostatic light breezes, seraphic laments and a delicate pitapat by Cooper's machines, which manage to emphasize the abstract beauty of the track. The piano melody seems to have been completely absorbed by processing machines in the stunning d'n'b-oriented remix by British producer Jermaine Soul. "Von der Klippe Fallen" from their the first part of "Fragmented Self" is going to come as a bonus track for all those ones who are going to buy this release on iTunes.

Diagnostic and Statistical Manual of Mental Disorders-IV, the notorious classification of mental disorder by the American Psychiatric Association, which can be considered the sacred book of psychology, psychopatology and psychiatry, described paraphilia as the experience of intense sexual arousal to atypical objects. You can expect somewhat manic or morbid sonorities from an album which quotes paraphilias in the title as well as related matters to name its tracks, but Madrid-born, but Detroit-based, dj and producer Annie Hall, partner of Detroit Undergroud multidisciplinary arts collective boss Kero, manages to evoke a sort of poetic abstract related to this supposedly mental disorder by means of mellow edulcorations of electronic-hop lumps of fractured rhythmical patterns and compressed percussions, which could resemble some stuff by Funkstorung on the initial "DSM-5" or "Bandit 28930", a track which features Shadow Huntaz on mic - Annie's style is somehow analogous to Shadow Huntaz's excellent output "Dark Matter" -, some lovey-dovery sprains of abstract and glitch-IDM sonorities by producers like Metamatics or Solvent on the planed excrescences of "Foihtreiu", the delicious contrasts of "Symphora", where electromechanical evulliences reaches their pinnacle and got smoothed by liquid synth pokes and entranced vocals by Annie herself, and the sweet strictures of "Sada Abe", which sounds like the romantic sonic portrait of the notorious Japanese assassin, who strangled his lover Kichizo Ishida before cutting off his privates, which she held inside her handbag. Annie's sonorities cannot but stimulate Richard Devine's flair, who put before high-compression treatment "Bandit 28930", the most cacophonous episode of the release, as well as the panache for acidulous processing by Valence "MusSck" Drakes, who gripped and unraveled "DSM-5", while Gerard E.R.P. Hanson marvelously highlights the elegiacally melodic segments of "Sada Abe" on his surprising remix.